Revivals of Shakespeare – usually Bowdlerized
("Bowdlerizing"
[or click here]
a play -- refers to deleting or changing parts of a script, removing socially
"unacceptable" or sexually "offensive" parts of the
script

From Thomas Bowdler, who published the "Family Shakespeare,"
with sexual innuendo and reference left out, and turning sad endings into
happy ones.

The typical producing organization was the
resident company performing a large number of plays each season, till
the end of the 19th century.

"Stock companies" – actors together
played a wide variety of roles in many plays, usually with fixed salaries.

Some variations: visiting stars, touring
companies, long runs.

Exploitation of stars – the star system,
after 1810, was popular. English actors would tour with American companies
as stars, perform famous roles with resident companies. By 1850, the craze
was universal. Many stars made round-the-world tours.

This was helped by the
Romanticist’s idea of individual genius, and better
transportation (U.S. railroad system from coast to coast complete by 1870).

Stars received unfairly high salaries – one
French actress made as much as France’s Prime Minister (imagine ACTORS
getting that much money!).

After 1850, the size of the repertory decreased
as the length of the runs increased – took longer to recoup investment
in the show (Wallock’s Theatre in New York had 60 plays per season in
the mid 1850’s; only 5-10 by the 1880’s).

The repertory system finally fell when the
long-term contract was deemed unfeasible, as some actors were idle during
some shows; actors began to be employed only for the length of the play.

So, by 1900, the repertory system had all
but disappeared in favor of the "single play, long run policy."

The number of plays and amount of theatrical
activity increased, however.

With touring, came changes:

New York became the theatrical center
–actors went there to get hired, local managers would book events. By
the 1880’s, the booking system was chaotic, since managers had to negotiate
with several producers – there were many defaults on contracts.

The Theatrical Syndicate was formed
in 1896:

In effect, it was a monopoly, dominating
American theatrical production from 1896 to 1915, placing commercial over
artistic motives.

Other trends

Theatres grew in size – this encouraged spectacle.

After mid-1800’s, regular drama and specialty
acts separated, and theatres specialized in one form of entertainment.

Increased interest in historical accuracy.
Expanded to interest in unusual or exotic; therefore, authentic folk dances
and costumes and picturesque settings became to be on stage.

Charles Kemble’s production of Shakespeare’s
King John (London, 1823) was the first to claim complete historical
accuracy. By 1850, it was important everywhere.

Realism of spectacle led to the elimination
of the wing and drop sets, and the development of the "box set,"
with three walls and perhaps a ceiling to represent interiors. It
was not used consistently until the end of the 19th century.

This "realism" also led to the
leveling of the stage floor, stagehands moving scenery manually (though
grooves or chariot-and-pole systems were still used), revolving stages,
elevators, rolling platforms, groundrows (cutaway flats), closed front
curtain, acting upstage of the proscenium line (rather than on the apron),
and the 4th wall convention was accepted more fully.

With the use of electric lighting, which
illuminated much better, there was an increased need for greater scenic
realism.

But the plays themselves were still romantic
and melodramatic. The movement of Realism would shake things up
a bit.